中国当代电影文本中的“展示主义”——以《菊豆》《活着》中的女性角色为例

The Exhibitionism in Contemporary Chinese Films:A Study of the Female Characters in Ju Dou and To Live

张艺谋影片在国内学界一直有“示丑”或“迎合”之嫌,而海外华裔学者在研究中国当代电影时,提出张艺谋电影中存在“展示主义”,强调一种从女性身体出发的反抗性的展示,试图为张艺谋辩护。本文从《菊豆》《活着》两部影片中的女性角色入手进行分析,认为张艺谋的“展示主义”既非反抗也非迎合,而是带有某种民族自恋情结的,以民俗文化展示为特征的视觉重构。

People in the domestic academic circle have criticized Zhang Yimou’s films have often been suspected of for the emphases upon“displaying ugliness”or“catering to public anticipations”within domestic academic circlesin his films.Meanwhile,some overseas Chinese scholars have given their own interpretations of Zhang’s films from the theory ofproposed exhibitionism and defended his artistic orientations.According to them,the theory of exhibitionism has stressed the presentation of women’s rebellion from their own bodies.from the perspective of female bodies,emphasizing an exhibition of rebellion in his films and trying to defend Zhang Yimou against his domestic critics.The article is journal analyzes the female characters in two of Zhang’s two films,namely Ju Dou(1990)and To Live(1994).It believes concludes that Zhang’s exhibitionism is neither rebellious rebellion nor catering,but is a visual reconstruction featuring Chinese folk culture with a certain narcissistic complex typical of the Chinese way of thinking.